The Tleilaxu Music Machine

Mishka NYC Bloglin reviews two remixes by The Tleilaxu Music Machine

May 29th, 2011


How can your interest not be piqued when you’re presented with remixes of music from Twin Peaks and a deep Ennio Morricone cut? They were waiting suggestively in our mailbox today courtesy of The Tleilaxu Music Machine and they’re both witchy, twitchy, and pretty goddamned cool overall. Together, they’d serve well as the soundtrack for a spooktacular party at a haunted house, if you’re into that kind of thing.

The first track, “I Saw Her Die,” uses the framework of Ennio Morricone’s score for an obscure Italian film from 1972 and answers the question of its title. The intro is deceptively innocuous, but then the droning beats and sludging-up of the children’s chorus warps the track into more sinister territory. Based on a single scene in Twin Peaks in which Audrey Horne cuts a rug, “Audrey’s Trance” is slower and maintains a certain sensuality despite its propensity to freak listeners out. Blame it on Sherilynn Fenn, the actress who plays Audrey, whose voice makes a seductive cameo in the track.

It’s hard to make music that’s simultaneously eerie and danceable, but The Tleilaxu Music Machine makes it happen with these remixes…

Original post here

Demon-rasta undead dread dude making hard-edged dance grooves – D+E+C article/review in The Stranger

Jason Baxter (also of Universal Studios Florida aka USF), writing about Diamond Eyed Coyote for Seattle’s weekly paper The Stranger, had some interesting tidbits to contribute to my ongoing sociological study in diverse reactions to cultural experiments:

I saw The Tleilaxu Music Machine perform at the Smell in LA over a year ago, and it was kind of a trip. Dude has that demon-Rasta Rob Zombie undead/dread look going on, and his hard-edged dance grooves are pretty fun in their own way, as if Zombie had drunkenly crashed his “Dragula” into a club with some actual taste. In TTMM’s music, the guttural snarls and howls of ‘90s dreck genres like nü-metal are transposed over frenetic house beats—a little jukey, a little janky, totally freaky-deaky.

Check out the whole article.

LA Weekly feature on TTMM & (Indie) Gabber / Rave hardcore

LA Weekly – June 18th, 2008 : Gabber Gabber Hey! – Subgenre Resurfaces in LA
by Liz Ohanesian

“A set from the Tleilaxu Music Machine begins as many electronic performances do, with a boy and his laptop working together to create the midtempo electro dance sound of now. But within a few minutes, D. Bene Tleilax will shift gears, drastically increasing the tempo until it reaches a point where the groove disappears and is replaced by the repetitive pound of a distorted kick drum. He will find the zone here, when dancing in the conventional sense becomes impossible, and the 25-year-old from Orange County will begin to bounce frantically, his dreadlocked hair flying in his face while his bracelet-covered arms punch air. The crowd feeds off of this, moving more like a mosh pit than a dance floor, coming close to imitating a scene from a rave in the 1990s, when techno aggression morphed into what became known as hardcore, or gabber……” (continued on website)

Also included in the article are Eustachian, Sean Carnage, and Jonathan Snipes of Captain Ahab.

The New Age Party Music of D. Bene Tleilax — Interview by Sean Carnage

Originally posted on Sean Carnage’s blog July 31st, 2010


D. Bene Tleilax’s The Tleilaxu Music Machine is one of those groups that, man, if it doesn’t make you go nuts and get happy you’ve got a really cold and boring heart. D. Bene’s music is way progressive which is the inspiring part—the man can write symphonies AND techno epics AND remix others’ songs. It’s electronica yeah but really it’s just him. D. Bene’s the music. And when you listen you are the music.

I caught up with D. Bene earlier this week and he laid it all out for me:

How old are you and where do you live?
27 years old, I live in and around L.A….in my car!

How would you describe your music to a stranger?
I have completely different sets of music depending on which scene I am performing in, which is to me an important aspect of what I do. But in general as good a description as any would be taking all the following and pulling 4 or so randomly out of a hat :: experimental electro rave screamo hardcore IDM gothic baroque noise psychedelic grind industrial dubstep cabaret

Describe your music-making role—are you primarily a composer, performer, instrumentalist, or…?
I’m pretty into being a composer, I’m compelled the most by the concept of a distinct created work. I’m secondarily a performer…since I make a lot of electronic music that is often difficult or impossible to really perform live as an instrumentalist, at very least by myself, it’s not that big of a thing. Also that’s not the point of my performances. Performance to me is helping to get people to appreciate the music together as a community. The computer is like my orchestra, I notate everything and it plays the majority of it while I dance, scream, bang on a MIDI controller or push people around.

Where are you originally from? Was music a part of your upbringing?
I grew up in Orange County, home-schooled til 7th grade by fundamentalist christians who were super restrictive about things “of the world”, such as music. I wasn’t even allowed to listen to christian radio! But I had Nintendo when I was a kid and I would make tape recordings of video game music and listen to that all the time…then in high school my parents slowly lessened their grip and I got into hardcore, DIY indie shit, and rave music and started going to tons of shows…and fancy that, here we are!

Who are three music influences that you keep returning to time and again?
I will always be influenced by old school indie emo & hardcore stuff, I love the rawness and potency of that sort of personal expression. Glitchy IDM & technical electronic music has a permanent place in my brain, I love machine music. And finally if I could say LA music in general as an influence, that is something that constantly informs what I do. I’m really into finding out what’s happening in local music communities and using that as an inspiration, since I’m into so much shit it helps give me direction sometimes.

What was the first music you remember spending a lot of time making?
At the very beginning, all my musical endeavors were about making straight up noise as weird as possible specifically for the purpose of taking psychedelics and listening to it. That’s pretty much all I did for a while!

Imagine that you are giving a tour to someone from out of town. Quite magically, everyone you might want to see is playing at your favorite venues here in L.A. What bands/venues or experiences would you take your visitor to?
I’m really weird like this, but honestly I don’t have favorite bands that I go more crazy about than others…there’s a lot of people worth seeing in LA. I’d just take them to whatever cool was going on at the time, and there is almost always something worth going to. Places like Pehrspace and Women are really cool and always have good shit going on in a fun environment, Cozy Castle and McWorld were fun while they lasted, Echo Curio, HM157, also I’d take em to whatever cool underground electronic parties were going on…I call them “post-raves”, they’re often at different random one-off type spots. The CIA in NoHo just to check out the decor, some warehouse art parties.

What’s a song you wish you had written and why?
I’m pretty stoked on the way things happen of their own accord, I love other people’s music because they do it in ways that I never would. Sometimes I wish I had as much skill and vision as other artists to apply to my own creativity, but that’s about as far as that goes.

If you have any projects you want to make folks aware of, please share.
Currently I’m working on a what I hope to be a series of party events which smoothly combines performers from the straight up tronix scene with the more electronically oriented peeps from “band” scenes… a bit of party cross-pollenation. It’s called “New Age Party Music”. That’s kinda my main project besides my ever-present music whatever.

Superhyperindustrialdrummachinesynth Pummeling – Way Music reviews TTMM 2009 Valentines Day show

Rich Rath of Way Music had this to say about my performance on V-Day 2009:

The other act we caught was tleilaxu music machine, a one-person rant caromed over the top of superhyperindustrialdrummachinesynth pummeling. Outfitted in a lovely black sundress with striped kneesocks, arm hoisery, and workboots, the dreaded and bearded guy running the machine drove a bunch of people from the room when he started but then drew just as many back in…after a minute or two of acclimation to the sound, it began to take root in some part of the lizard brain and actually became compelling, and he put everything into the performance, moshing away with the crowd and rolling on the floor as he alternated between setting and playing synth patches and growling and roaring through the microphone.

Original post found here

Also performing were Anavan, Extreme Animals, Faav, I.E., & Puppy Dog. A super fun show, epic lineup!

Reviews of “A Flow of Code” from the 2003 German release by Minor Label

Reviews of the 2003 German release of A Flow of Code by MINOR (minor009) :::

From Empty #11 (July, 2004), a French print zine (now archived online) put out by BurningEmptyness Inc.

The tleilaxu music machine-minor-CDR-machine sewn envelope: great!

I think we have to create a new genre: ‘stuttering glitch industrial’ where we could pigeonhole Groxyo and The Tleilaxu music machine. Saying his tracks are ultra-complicated anti-structured pieces of work gives just a remote idea of the hundreds ideas he puts in his little minutes tracks. Keep an eye on this.

From Rigodon #4 (March, 2006), a print zine from the Netherlands put out by Anima Mal Nata

What we have here? Sort of noisy break collage repetitive loop music. Quite a mouthful but it describes the music well. Runzelstirn & Gurgelstock on acid maybe gives a better understanding what to expect. Compared with R & G the Tleilaxu [!] Music Machine is less sophisticated. Sometimes the music gets really noisy and harsh. But they sure make good music. A release worth checking out.

Ancient TTMM noise “reviews” and commentary from near the turn of the Millenium
2010/12/01, 20:45
Filed under: Music | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , used to be a fun site which I regularly used for a few years around the turn of the millenium. The premise was that anybody could upload songs which competed in charts (for prizes and exposure I guess, that wasn’t my motivation), but you had to listen to and review a certain number of other people’s songs to participate and get your own reviews & ratings based on listeners’ grading of your music. The songs were presented anonymously and the reviewer was supposed to listen for at least 90 seconds and provide legitimate critique on a variety of elements. The musicians could then rate the quality of the reviews they received and each user was given a grading as a reviewer as well.

It was a pretty active site with a lot of users, many of which were fairly straight-laced so to speak, and I used to get a kick out of putting some..err…more challenging tracks on there, such as harsh noise. It was essentially forcing people to perceive and react to completely abrasive experimentalism since they had to listen and write something to qualify their own music. The results were completely hilarious (to me at least).

Below I present to you the most amusing portions of this experiment in sociological research! There are two sets of comments from two experimental noise tracks. Only one of the tracks is currently available online–the other is more or less obsolete until revised for re-release. The format is::

Title of review
Body of review


Fear Stunts Progress

Extremely powerful, aggressive mix.

#2 Noise
fine on a pure noise level but the snare pattern seemed confusing.

Aphex Twin? Is that you?
This is damn aggressive! It feckin’ rocks! That’s a hell of a lot of drums goin’ on there! Wow! That is some MAD guitar noise! For what it is, this is a proper intense song! I might not play it for my parents and dance around the livingroom, but it’s certainly got it’s own thing goin’ on (if that makes any sense at all). Keep it up – the world needs people like you to keep pushing the envelope. Nice one!

I couldn’t go past the required 90 seconds. This is not music.


Well, I like noise, but only if it is well structured and has a point. Just wanking doesn’t excite me. Well, that’s what I think. You might disagree .CHeers

nice track
nice effect good beat

I don’t usually like ambient noise tracks, but this one is pathetic. If your goal was to cause pain, you’ve succeeded.

now, see here…
…that’s just a bunch of noise…

[mind gone jelly can’t think]
oh boy… I’d love to know how you achieved this! what a trip. the crossing rhythms are way out there this is the sort of stuff I’d like to have for night-time listening…. only instead of 5-and-a-half minutes it would go for hours on end. beautiful, beautiful, beautiful, really well produced I’m very sad that it ends


it never breathes
this sounds like it might be cool – i like the way a beat sort of forms from the noise maybe this shouldnt be so compressed – it never breathes – i am a fan of compression though. 2:12 its sort of lost my interest – although im wondering where it’ll go… hopefully something more solid will come in – if it does this’ll be cool – it doesnt & ive got a headache – im sure you’re find that funny, but i dont – this doesnt work in headphones////////

Waist of time
Seems like I receive alien waves on my AM radio.

OK it would probably be much better on acid

Electrical Madness = obnoxious goodness!!!
I kind of appreciate digital hardcore, but I need a mix of melody to offset the madness. I feel that after you go through the mess, you should feel the sweet release of melody. Your song is just an intentional mess. One out of 2 thumbs.

Turn it down
I don’t like this song. It needs a melody. The beats are too dark. Sorry, it’s just a bunch of noise.

Noise is Wonderful!
Yes! Breaks it wide open! love the ending. Good to hear something creative, nothing to add.

Demons of Attack

pretty good
pretty good

Make way for the annoying king
This song is way too repetitive. It has the same basic sound for the whole song. It is highly annoying

great intro and build up but i don’t like what it builds up to

waste of tape/drive space
No thanks, i’ll just mic up my bathroom the next time I take a dump – there’s more musicality in that. The similarity is that it’s a relief when it’s over though.

i need some PBR now.
this was pretty close to noise, as in experimental. which isn’t what i was expecting.

real annoying but strangely compelling
goddamn that’s terribly annoying, but in a strangly interesting way. reminds me of the performance group srl. check them out at

Headache anyone
Needs to be mixed better. Some of the sounds are kind of irritating

Aural Pain
MY EARS!!!! OWW!! I have to admit, this is one of the most ear-grating tracks I’ve ever heard. I don’t know how to describe it other than aggrivating. Yet, it makes me laugh.

Ouch! I mean, OUCH! Now THAT’s what I call some avant garde noise! It’s too over the top for me, but for Zappa (Frank) fans, it might be just the thing. Not too shabby.

What in the name of God is this?
Rock on dude! This is the worst song i’ve ever heard. Keep it real.

Better luck next time
I didn’t like that one at all! It is not my style, sound fx sound a little like aphex twin, but there is no beat, just a bunch of noise. You should incorporate a bass drum or something. Also, it to repetive,

Falling down the stairs with a guitar…
The guitars are way to heavy and scatchy and repetive. You may want to do some revision but, rememeber that it was just my opinion and someone out there might think this is the juice.

And The Point Is?
No rythm, no tune. Sorry guys, you can’t play and you’re clueless about sampling aswell. Not very encouraging.

The on/off-ness of the introduction reminds me of a horror film, and Korn’s Blind. The continues for another minute while layering some ambience. Ugh, extremely irritating!

Be patient
Although I believe that there is an artistic statement behind your music, it is unfourtunate that not everyone has an ear for your style. You are probably way ahead of us, the listeners just need to catch up. Be patient.

Too Loud
Wow – a little too loud and odd for my electronia tastes.

Hurts my ears
Ouch! This song was incredibly painful to listen to. The heavy guitars are just too much for my ears. I had the volume down on my speakers and it still left my ears aching when the song stopped. I would have put a little less distortion in, and made some chords that resolved themselves, not just bad ones.

Come on feel the noiz!
Ahh yes, finally something so abstract as to grab the attention and senses of a listener, such as myself. Great job guys/girls…reminded me of a nostalgic Sonar track…very great stuff…keep the noise alive!

Sounds like someone changing static channels on the TV while playing video games.

Atari madness
I swear I already reviewed this track, This really reminds me of a guy from SF called “Bran (..) Pos. I like the sounds. it is very hypnotic and avant garde. Cutting soounds I bet this would be really incredible live on a great system. The use of simple components combined is great.

its not scotish
try again

i think this song is too monotonous. it has potential to be a lot better though.

an experiment in sound deconstruction
I really enjoyed your music. It caught me by surprise. What a misleading little tune!

drugs I need
Idont know what kind of drugs I need to get inside this music , but I sure it`s strong

Need a new idea!
WHAT THE?????????????/

makes my knees feel like rubber!!!
loved it!!!!! interesting little diddy

Ok, now this is what I’m taking about. Nice ugly sounds. Nice weird stuff. Nice distortions. nice feedback; Nice ugly. ugly is ugly for about a year; then it becomes cool. you’re on track to doing your thing. Kepp on keeping on, baby!

Make…the hurting…stop…
This song conjured up images of that stupid sound-effects gun I had when I was a kid. I feel like thirty of them are attached to amplifiers and pointed at my head.

Well this song almost blew my speakers it was so loud, got kind repetitive.

video game anyone?
this is not a song at all, it’s just random video game sound effects.

What is this sound?
All I heard was a sound like drums and a drill going off; no music or anything. Then it sounded like it turned to phasers. This is not so good.

Loopy electronix
Intro good but a lil annoying after awhile.

Electro trash, whaw unusual…
Congratulation, You won the oscar of the first electro trash combination, well I never heard a kind of music like that, A bit hard to listen but original.

Wasn’t sure what I was listening to……very repiticious noise samples.

Glad I invested in that optional mute button!
It sure pays off in the short run. I know it did here.

DOA / reviews Demons of Attack mp3 in 2001

This track is currently unavailable until revision / modernization but this is an old review of it from 2001 (original here). For released TTMM noise experimentalism check out the free album A Flow of Code.

October 8, 2001

Music appropriate for wartime, The Tleilaxu Music Machine defies easy categorization. An amalgam of styles coalesce to form a dark electronic maelstrom akin to a blunt-edged Brighter Death Now. Equal parts Squarepusher and Burzum, The Tleilaxu Music Machine seems to mock these influences by laying primitive “misplaced” cymbal sounds over a complex beat pattern or processing their heavily distorted guitars to the point that the melodies seem to be emitting instead from a number of lawnmowers.

“Demons of Attack” is an instrumental that develops in a similar way to many of the songs of Throbbing Gristle, early-Ramleh, or other industrial or power-electronics groups. A guitar rhythm is initially heard in one speaker, until a fierce burst of noise breaks across both sides of the mix followed by a collection of processed drums repeating the rhythm. Gradually, additional layers begin to envelope the piece with mutated tempos and harsher sounds, fermenting the sickening march. By now it is clear we are dealing with a different and more complex sound palette than Throbbing Gristle ever conceptualized. The menacing sounds begin to boil over amid what could be a distant hail storm of chains and scrap metal. The violence peaks with an annihilating guitar/synth sound that penetrates and consumes nearly every other tonal or rhythmic element, only to fade out washed over by flange effects.

The Tleilaxu Music Machine provide an aural assault which is nauseating, soulless, and full of paranoia. One pictures rows of mangled corpses gleefully rising again from the battlefield to spread disease and carnage. This band tries to make a giant bowl of entrails appear appetizing. Mmmmm. Give them a listen before they are drafted in an attempt to harness the debasing psychological effects of prolonged exposure to these sounds to use against our bunkered-down enemies.

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